TY - JOUR
T1 - Draperies and Reveries
T2 - W.B. Yeats and the Aesthetic of the Background
AU - Morin, Emilie
N1 - This is an author-produced version of the published paper. Uploaded in accordance with the University’s Research Publications and Open Access policy
PY - 2024/8/30
Y1 - 2024/8/30
N2 - There are many traces of Yeats’s interest in pictorial scenography, from his stage directions to his way of writing about performance more generally, with much showing how curtains, tapestries, panels, screens, backcloths and draperies became integral to his conception of performance and the visual compositions he wanted to create. This article excavates a neglected reflection on backcloths and the aesthetics of theatre textiles in W.B. Yeats’s letters and writings about the theatre. It argues that the background constituted for Yeats a genuine aesthetic and practical problem, which he addressed through observation and conversation. Through the day-to-day concerns and interests expressed in Yeats’s correspondence, some general principles outlined in his journalism and essays, and the few surviving remnants of his sketching practice, I trace some entanglements between his thinking about decorative scenery and his impressions of Edward Gordon Craig’s first productions in London in the early 1900s—productions that were characterized by their innovative use of large backcloths and fabrics.
AB - There are many traces of Yeats’s interest in pictorial scenography, from his stage directions to his way of writing about performance more generally, with much showing how curtains, tapestries, panels, screens, backcloths and draperies became integral to his conception of performance and the visual compositions he wanted to create. This article excavates a neglected reflection on backcloths and the aesthetics of theatre textiles in W.B. Yeats’s letters and writings about the theatre. It argues that the background constituted for Yeats a genuine aesthetic and practical problem, which he addressed through observation and conversation. Through the day-to-day concerns and interests expressed in Yeats’s correspondence, some general principles outlined in his journalism and essays, and the few surviving remnants of his sketching practice, I trace some entanglements between his thinking about decorative scenery and his impressions of Edward Gordon Craig’s first productions in London in the early 1900s—productions that were characterized by their innovative use of large backcloths and fabrics.
M3 - Article
SN - 0026-7694
JO - Modern Drama
JF - Modern Drama
ER -